Spring Thing continues. Here are some thoughts about Marshal Tenner Winter’s Bibliophile.
Sorry for the delay in posting this, but the transcript from our April 5 meeting is now up. The next meeting will be on CYOA structures and is set for 8 PM British time, May 10. Suggested reading and other information can be found here.
Note also that at the end of the transcript, zarf proposes a speed-IF about time and action-scale modeling:
zarf says, “mess with these ideas we’ve been talking about for two weeks”
eu says (to zarf), “Good idea.”
zarf says, “post a link in the intfiction.org forum post about this chat”
zarf says, “and we can (on the forum) discuss in two weeks what we’ve come up with”
Once at GDC I heard someone give a talk in which the speaker said, in essence, “Don’t show your audience anything that isn’t already a common trope in a movie or another video game of the same genre.” Which is amazing if you think about it. Invent nothing. Observe nothing. Bring no original truth to your piece. Do not teach your audience anything, and do not imbue your work with anything of yourself. This is probably the worst writing advice I have ever heard. If it has any even notional justification, it’s that it gives the audience what they want, assuming they don’t want to be challenged or think new thoughts (and the marketing department has concluded that they don’t).
The opposite failing is author-service work: stuff that’s so personal to the creator that it’s inaccessible or overwhelming. To tell someone your secrets can be an intensely manipulative act. Certain emotions may be required in exchange: pity, surprise, a suitable horror. This isn’t always a bad thing, but I brace myself when I come across a piece that seems primarily designed to make me feel something about the author, or to exorcise the author’s distress.
But it’s not as though the mean is an easy space to occupy. It demands both craft and heart, and the discipline to sit with something you feel deeply and keep working on it over and over until it is also comprehensible and valuable to someone else.
ULTRA BUSINESS TYCOON III both describes and exemplifies how art drifts back and forth in that huge space between creator and audience, occupying different positions, carrying different meanings. It shows how art can become a vessel for an intimacy that hasn’t otherwise been earned.
The following discussion contains spoilers, so be warned.
two-star says, “Well, novels are capable of conveying widely different scales of passing time. Parser IF considers time at the pace of individual actions. Choice IF can do time at different scales pretty well though.”
– from the last meeting of the IF discussion group.
This is the contention that we’re going to be discussing at our next meeting (April 5).